Category: Movie Reviews (Page 79 of 81)

Movie Review: “Star Trek Into Darkness”

Starring
Chris Pine, Zachary Quinto, Zoe Saldana, Benedict Cumberbatch, Karl Urban, Simon Pegg, John Cho, Anton Yelchin
Director
J.J. Abrams

To look back on the controversy circling around J.J. Abrams’ reboot of the “Star Trek” franchise is like trying to remember a distant dream: you vaguely recall that the fans of the long-running sci-fi franchise were freaking out about the idea of new actors slipping on the uniforms of James T. Kirk and the crew of the U.S.S. Enterprise, but so many Trekkies came to embrace Abrams’ “Star Trek” so quickly that it’s almost like the controversy never happened. Y’know, like pretty much everything that ever happened in the original “Star Trek” series and movies. Or have you forgotten how Nero (Eric Bana), the villain in the 2009 film, went back in time on a mission of vengeance and proceeded to change the course of history?

Of course you haven’t forgotten. And you can be damned sure the Trekkies haven’t, either. Ever since Abrams’ film effectively wiped the slate clean on “Trek” history, theories have been flying by at warp speed about whether the next film would find Kirk and company on an all-new voyage or if the storyline might feature new takes on more classic characters. The answer? A little from Column A and a little from Column B. Thing is, we can’t really tell you much about the bits from Column B. Or, rather, we could, but we don’t want to spoil the fun…even if at least one of those fun bits has been bandied about as a plot possibility for the sequel from the very beginning.

Like its predecessor, “Star Trek Into Darkness” more or less starts off at full throttle, with the crew of the Enterprise in the midst of a mission to a strange new world which hasn’t yet reached the level of technology as the worlds within the United Federation of Planets, putting it under protection of the so-called Prime Directive. If you’re unfamiliar with the “Trek” mythos, this basically means that the planet is supposed to be left alone to develop at its own pace, but even if you barely know “Trek” at all, you still probably know that Kirk’s never been a big fan of following the rules, and as a comparative youngster in Starfleet, he’s still learning that there are significant consequences when the rules are broken. What he’s also learning is that not every officer is cut from the same cloth as Christopher Pike (Bruce Greenwood); some tend toward the hard-ass method of command, like Admiral Marcus (Peter Weller).

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Movie Review: “The Great Gatsby”

Starring
Leonardo DiCaprio, Carey Mulligan, Tobey Maguire, Joel Edgerton
Director
Baz Luhrmann

Baz Luhrmann was born to make “The Great Gatsby.” Dazzling excess, star-crossed lovers, and tragedy are the cornerstones to nearly every movie he’s ever made, and F. Scott Fitzgerald’s novel has all three in abundance, wrapped in a searing indictment of the pursuit of wealth. All four of those elements of the story are on full display here, but there’s something missing in the execution. For a story with so much passion and longing and regret, it’s surprisingly bloodless. This is not to say that Luhrmann doesn’t hit the emotional buttons; he just doesn’t hit them hard enough. Then again, that may not be Luhrmann’s fault at all, but the source material. A bunch of clueless people ruining their lives by making bad decision after bad decision; it’s like a Mike Leigh movie, with money.

Nick Carraway (Tobey Maguire) is in a sanitarium for a laundry list of conditions (top of the list: morbid alcoholism), and soon begins telling his shrink about the summer of 1922. Nick had taken a job as a bond salesman during the Roaring Twenties, and found a small cottage in the village of West Egg, where he lived next to new-money millionaires. Nick’s cousin Daisy (Carey Mulligan) lives across the bay from her, and is (unhappily) married to old-money millionaire and unfaithful thug Tom Buchanan (Joel Edgerton). The man who lives next door to Nick is a mysterious fellow named Jay Gatsby (Leonardo DiCaprio). Jay would throw massive parties every weekend, but his reason for doing so was surprisingly sweet: he hoped that one day Daisy would attend one of them. Daisy was Gatsby’s girl five years earlier, and once Jay discovers that Nick and Daisy are related, he asks Nick to invite Daisy over for tea. This sets in motion a chain of events that would change the lives of all concerned.

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Movie Review: “Iron Man 3”

Starring
Robert Downey Jr., Gwyneth Paltrow, Don Cheadle, Ben Kingsley, Guy Pearce
Director
Shane Black

When it was announced that Jon Favreau would not return as director of the third “Iron Man” film, the producers surely fielded offers from every name director in town. So how did Shane Black land this gig, again? The guy hasn’t written or directed a feature film since 2005’s “Kiss Kiss Bang Bang,” and yet here he is, doing that Shane Black thing once again, only this time with superheroes, while trying his best to streamline his R-rated ways for a PG-13 audience. As it turns out, “Iron Man 3” works, but just barely, and it’s more in spite of Black’s influence than because of it. At the beginning of the second act, Black begins to get in his own way, and for anyone familiar with his work, it’s not long before a strong case of deja vu sets in. He even set the movie during the holiday season, just like “Lethal Weapon.” And “The Long Kiss Goodnight.”

Tony Stark (Robert Downey Jr.) is not handling the events that took place in “The Avengers” well. He can’t sleep, he’s experiencing panic attacks, and he’s neglecting his girlfriend Pepper Potts (Gwyneth Paltrow). The last thing he needs is a crisis, so of course he receives two, in the form of a think tank genius named Aldrich Killian (Guy Pearce) who’s trying to woo Pepper into funding some groundbreaking genetic research, and a stone-cold terrorist named The Mandarin (Ben Kingsley) who has launched a series of unusual bombings across the country. Tony dares the Mandarin to take him on; the Mandarin responds by destroying his house. Tony Stark, one of the richest and most famous men in the world, is at rock bottom.

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Movie Review: “Oblivion”

Starring
Tom Cruise, Andrea Riseborough, Olga Kurylenko, Morgan Freeman, Melissa Leo
Director
Joseph Kosinski

He rides a sweet motorcycle, flies a badass futuristic stealth bomber, wears a cool NASCAR-like uniform, does a scene in zero gravity, and kisses two beautiful women. Needless to say, Tom Cruise had several reasons to sign up for “Oblivion,” and as an added bonus, writer/director Joseph Kosinski assembled a slick, compelling story around which to frame the riding and the flying and the floating and the kissing. Sci-fi fans will likely cry foul with regard to how much “Oblivion” borrows from a smaller film released a few years back (to say its name would give away too much), and rightfully so. Indeed, “Oblivion” is in many ways a souped-up, big-budget remake of the smaller film. The original is better, as is often the case, but “Oblivion” is quite good as well. It’s beautifully shot, it carries a palpable sense of unease, and it keeps its cards close to the vest. The poker face approach gets frustrating at times, but in the end it was nice to see a science fiction film that doesn’t patronize its audience.

In the years following a war that devastated Earth and killed the population, technician Jack Harper (Cruise) and his work/life partner Victoria (Andrea Riseborough) literally live in a penthouse in the clouds. Jack and Victoria take instructions from Sally (Melissa Leo) at Mission Control to keep a group of spherical drones functioning so the good guys can defend themselves against a group of alien scavengers who seek to undermine their efforts even though the war is long over. Jack has strange memories, though, of a woman he’s never met and a life he’s never lived. When the scavengers set up a beacon that attracts a ship, Jack investigates the landing site and is stunned to discover that the woman in his dreams is one of the passengers. Soon after, Jack receives a visit from the scavengers, and is forced to rethink everything he has ever known.

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Movie Review: “42”

Starring
Chadwick Boseman, Harrison Ford, Nicole Beharie, Andre Holland
Director
Brian Helgeland

Every time Hollywood releases another civil rights sports movie, it calls to mind comedian Bill Burr’s funny bit about white guilt, because audiences have been inundated with so many of these films recently that they’ve begun to lose the potency of their message. Of course, if you are going to make another civil rights sports movie, the story of Jackie Robinson is pretty much the definitive version, so it’s surprising that only one other film (“The Jackie Robinson Story”) has been made on the subject, and that movie starred the famous baseball player as himself. It’s probably because no matter how inspiring Robinson’s tale may be, he’s not a particularly interesting figure apart from his contribution to history, and that’s something that director Brian Helgeland constantly wrestles with in “42.”

Unlike most biopics, the film only covers three years of Robinson’s life, beginning in 1945 when he was still playing in the Negro league after serving in World War II. Spring training has just begun and Brooklyn Dodgers general manager Branch Rickey (Harrison Ford) has decided to make the bold move to break the color line and bring the first black player into the National League. Initially assigned to the Dodgers’ minor league team in Montreal, Jackie (Chadwick Boseman) must overcome immense racism from both the fans and his teammates, much to the concern of his wife Rachel (Nicole Beharie) and black sports journalist Wendell Smith (Andre Holland), who’s aware that there’s much more at stake than Jackie realizes. But instead of lashing out against his detractors like everyone is expecting, Robinson lets his talent do the talking on the baseball field, eventually earning a spot with the Dodgers and leading them to the pennant in his first year.

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